This essay explores the concept of the authenticity of kwaito and traces the origin and the development of the genre within the context of South Africa's political and social changes in the post-apartheid era. Special attention is given to kwaito solo artists Arthur, Zola and the group Bongomaffin, as representatives of the pre-1998 and post-1998 styles of kwaito.
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Thokozani Mhlambi (2004) studied this question.
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